What you do is write, or threaten to write, a book about it. Since I started my oil painting for beginners e-book (this will turn into a plug if I'm not careful: but it's not ready yet, so maybe I can get away with it..); since, as I say, then.... I have discovered so many things that I either didn't know before, or thought I knew and didn't, or had known but had forgotten. Frankly, you don't need to read my book, fantastically and tantalizingly brilliant though it's almost bound to be: just start writing one yourself. You don't need to finish the thing; it's the research that's important AND exposing the occasional thought to some of the experts on POL. I was, for example, getting into a proper old tizz-wozz about lead whites in oil; posted here on the forum; and then Phil Kendall, aka Meltemi, made the suggestion that actually - maybe move on? Come to grips with the fact that materials and times change, and we have to change with them. I was resistant at first: like the pet rats I used to keep, I'm neophobic - anything new is anathema to me, to start with (I'm sure I've written before about Ralph, our first and greatest rat: we extended his cage, by dint of placing another one on top of it, accessible of course from the original cage: well he wouldn't have it. He went on strike; sat, immobile, on his usual platform and refused to eat, drink: "it goes, or I do". Fortunately we got the message before he starved himself to death, and dismantled it. Full service immediately restored. Well, I'm like Ralph.) Further thought however suggested a) that Phil might be right after all; and b) that I needed to look harder for alternatives, rather than mourning the loss of my precious Flake and Cremnitz whites. And so I found Gamblin's Flake White replacement, and will shortly order some. The point is that without doing what the NHS has a nasty habit of calling "The Learning", when they mean research, I wouldn't have questioned my previous hardened certainties, nor would I have looked for a more realistic solution to my problem. Incidentally, it also proves what a resource POL can be. My eyes have been opened to whole areas of knowledge that I'd either avoided, for fear they'd be hard work, or sort of knew about but had filed away in the back of my mind, just by giving serious thought to what I would want to say to people about oil painting. It's going to be important to winnow out all the abstruse stuff when writing for beginners: I know that while information is important, overload can just put people off, or lead them to think there's a big mystique about oils, when there really isn't. But having learned what I have learned, I'm even more surprised at the rubbish that's out there alongside the gold: and the sheer obscurity of some of the language used in ostensibly beginners' guides - and how outdated some of it is. I've found good information, sites and courses, which I shall recommend (kick-backs always welcome, but not really required..) and extremely dodgy information, courses which aren't worth your money, and web-sites which are just eccentric. Mindful of libel, I shall not pan these .... safer, and to be honest sounder, to play the ball, not the man (as I'm told sporty people say; my most energetic pursuit being tiddly-winks, I have to take that on trust). Anyway, off you go and write a book - you'll learn a massive amount that will help your painting practice. Then you tell me what you've learned, and I'll shamelessly pinch it.